The Kirans - Kiran Subramanyam and Sandhya Kiran of Bangalore put up two new productions at Bangalore recently. 'Aadhunika - New Expressions in Bharathanatyam' and 'Aarambh - Contemporary Beginnings in a Timeless Tradition' were both designed to explore the traditions of Bharatanatyam in unconventional ways, yet keeping intact the basic requirements of the form.
Bharathanatyam has come a long way since it first derived its name. The present generation has seen a dramatic change in the methods in which classical dance can be presented. Contemporary styles of interpretation and visualisation, use of technical support like lighting, stage decor and advanced sound equipment have all enhanced the quality and presentation of classical dance.
'Aadhunika' was presented as a duet feature by Kiran and Sandhya. A set of six numbers made up the entire feature. 'Nrityodbhavam' - the origin of dance was the initial number where the traditional Alarippu had been restructured to intersperse verses from the Natya Shastra. The choreography was a result of intersting interpretations of the Alarippu bringing the number to a stunning climax.
Following this was a presentation of the popular Devaranama-Krishna Nee Begane Baro-where the dancers had different interpretation of the same line - Kiran, to express Vatsalya and Sandhya to express Sringara.
The central number was Shivarpanam - A piece on Lord Shiva. Following this was a novel way of interpreting the Devaranama Jagadodharana of Purandaradasa. Yashoda is in constant conflict about her son - Is he a mere mortal or is he the great Lord himself? Should she punish him for his pranks or should she revere him for his greatness? This was depicted as a conversation between Yashoda and Krishna. Kiran then performed his solo number - a Meera bhajan-Sharanagati. This presentation used of a prop - a gigantic painting of a peacock feather and flute-that signified Krishna.
The recital concluded with 'Natavara Sri Krishna' - an adaptation of the traditional Thillana, where a lovelorn Nayika fantasises about her lord Krishna in a dream.
'Aarambh' was presented by The Rasika Dance Ensemble - the performing unit of The Kirans' institution Rasika.
The recital opened with a dance number, 'Rasika' which puts all aspects of Bharatanatyam in a nutshell. The dancers decsribed in vivid patterns the techniques that make Bharathanatyam one of the most comprehensive styles of today. The different varieties of body movements were presented culminating in the emotional aspect of dance-the Navarasas.
The Varnam in Poorvikalyani - Swamiyai vara sholladi was presented as a group choreography, depicting the 'Ashtanayikas' (eight states of the heroine). Further the popular Surdas Bhajan - Maiyya Mori- was presented in the Natya format. The programme concluded with a vibrant number on Shiva and a visual interpretation of the Thani Avarthanam.
Several senior dancers, Gurus and critics were present in the audience.The Kirans aimed these productions at the younger generation and were extremely successsful in harnessing the participation of a majority of youngsters at the performances. The Kirans say that they wish to revolutionise the way Bharathanatyam is looked at and this attempt has certainly been a successful one!
